From March 27 to April 26, 2026
Since the 18th century, the distinctive costume traditionally associated with the bullfighter has ignited passions. It catches the eye and sparks the interest of those who encounter it. Inspired by the clothing of the Bourbon court, it attests to a strong identity, imbued with diverse influences. Between aristocratic customs and practices, the costumes evolved thanks to the influence of the aesthetics of bullfighters from the common people.
It was in the 19th century, and particularly through Georges Bizet’s opera Carmen, with its character Escamillo, that the figure of the bullfighter was transformed into the toreador.
On the sand as on the stage, light emanates from every movement, giving the costume’s motifs a breath of life.
Discover in this “case study” exhibition unique pieces much appreciated by the Spanish painter Francisco de Goya, from the private collection of Alberto Perales in Madrid but also from the archives of the Christian Lacroix fashion house dating from the years 1987 and 1989. Like Picasso or Cocteau, the Arlesian couturier nurtured in him the fascination of these brightly coloured costumes, entirely embroidered with gold, which he saw in the amphitheater twice a year, and which would later become a recurring and identifying element of his style.
Bullfighters have been a major source of inspiration for other designers, such as Yves Saint Laurent, who, in 1977 and 1979, succumbed to the allure of this proud figure and interpreted the suit of lights in his own way. He bestowed upon modern women the power attributed to this noble and popular figure, symbolizing a sophisticated and sensual androgynous archetype while defying the gender norms dictated by Western society.
Painters, filmmakers, photographers, directors, and more recently, Instagrammers, beyond prejudice, capture these meticulously groomed male bodies, clad in silk stockings and metallic embroidery embellished with cut stones and sequins—the last vestiges of a fantasized, baroque 18th century.
